The Triptych Series consists of a series of twenty-seven large oils on canvas exploring the triptych form as both altarpiece and sculptural shape. However, the traditional subject matter of the altarpiece is merely hinted at, with only occasional apparitions of guiding saints and visiting angels who bless the lovers’ union that is the central theme of the series.

Each line that cuts open the canvas is not only a cutting motion into the entirety of the painting but is also a moment in time when change occurs. In many ways the dividing lines are mysterious and alchemical. On the other hand, there is a brutality within the dividing line that breaks open the emotion of the work and almost ravages it.

This characteristic “cutting action” of the dividers is also mirrored in the way that language is undermined in the series. Poetic imagery, which acts as the point of departure or inspiration for the work, is erased and often illegible; diary fragments appear, suggesting an autobiographical content to the paintings but are erased, scratched over, and later covered by commentary or poetry. Language never summarizes the emotion of the painting, but the calligraphic texture of the words and colors of the letters prevail.